Friday, May 18, 2012

Kerry Wood, And The Career We Were Robbed Of



Kerry Wood announced his retirement today, and after his final appearance during today’s game against the White Sox, he’ll ride off into the sunset, more than likely in a position with the Cubs’ front office or television booth.  Wood will be retiring at the age of 34, in reasonably good health, and with a career that he should be proud of.  He has a career ERA of 3.67, an 86-75 record, 1581 career strikeouts, and is on the short list of having pitched one of the greatest games by a starting pitcher in history.

Still, when you look at how Wood began his career, and how his career progressed, you can’t help but wonder that it should have progressed a lot differently.

When Wood burst onto the scene in 1998, he did so with a thunderbolt.  He pitched 166 innings, struck out 233, won 13 games, and on May 6, struck out 20 Houston Astros, joining Roger Clemens as the only pitchers to ever strike out 20 in a game.  His performance was even more dominant that that of Clemens in that he only allowed a single hit and didn’t allow a single walk.  It should have been the start of an exceptional career, one that would see Wood inherit the mantle of Nolan Ryan as that of the most dominant flamethrower in Baseball.  

Except for one problem.  Wood pitched a lot of innings since dating back to his career at Grand Prarie High School.  Wood was one of the last generations of pitchers that were willfully abused and forced to pitch far too many innings as a developing youth.  He was before the age of pitch counts and innings limits, before parents and agents sought to protect their sons and clients from overcompetitive high school and college coaches.

So it’s probably no surprise that Wood, shortly after making the majors, would get injured, due to the rather archaic standpoint of handling pitchers by his managers at the major league level.  Wood would be overworked and succumb to injury by his first manager, Jim Riggleman, during the 1999 season, after having worked 176 innings in both the regular season, minors, and playoffs in his rookie of the year winning campaign.  And Wood would continue to be injured in various parts of 2000 before showing signs of life in 2001, and possible improvement under Don Baylor.  Indeed, after 2002, having since been joined on the Cubs’ staff by Mark Prior, another bonafide young sensation, the Cubs figured to own the NL Central for the next decade.

And then 2003 and Dusty Baker happened.  Baker was another manager of the old school, who felt that a pitcher should be able to pitch whenever his name was called, and to hell with the consequences.  All this talk of pitch counts, and innings limits didn’t hold much water for Baker.  Never mind that baseball history is littered with pitchers that threw for close to 300 innings in a season, and then never pitched again.  Never mind that the San Francisco Giants, Baker’s previous employer, had several former promising pitchers that would see their careers nosedive under Baker’s watch.  No, it’s safe to say that Baker was either ignorant of the effect of too much work on a pitcher, or didn’t care.  

It should have been safe to conclude from the moment that Baker was hired that Wood was absolutely screwed.  Wood would throw 238 innings that year, more than he had ever thrown in his career, and more than he probably should have.  Perhaps if the Cubs had actually gone on to the World Series that year, maybe the sacrifice of Wood’s arm would have been worth it.  Alas, the Cubs would see their chances die in Game 6 of the NLCS, during with another victim of Baker’s mismanagement, Prior, who was exhausted by his own abuse of his arm, would see the game, and the Cubs’ chances at a title, go out the window.  Wood would gamely try to continue as a starter for another two seasons, during which the effects of the 2003 season would ultimately force him to the bullpen, as he simply did not have the stamina, or the ability, to start.


I suppose, in retrospect, back when Wood first arrived, you got the overwhelming sensation that you were going to be a witness to something special.  Wood seemed as if he was going to be the next pitcher with whom we were going to refer to as having left a legacy, much as we do Cy Young, Nolan Ryan, Roger Clemens, Warren Spahn, Sandy Koufax, Greg Maddux and others before him.  You got the feeling that he was going to leave the game much better than when he entered it.

And in a rather sad and ironic sense, Wood did leave a legacy.  It was by and large the utter destruction of both he and Prior that management and coaching in baseball began to look at the effects of utterly working pitchers’ arms to death.  While there are certain cases in which pitchers are overworked and have suffered injury before it (such as Dusty Baker and Trey Hillman’s destruction of Aaron Harang and Gil Meche’s careers respectively), the sport has moved beyond that of ignorance and tradition and more on preserving and developing an asset properly.  Pitching has been described as the most unnatural motion in nature, and it’s true that there is a high level of attrition in pitching prospects.  That does not mean that there needs to be an added element of negligence involved as well.  You are making an investment; why not do your best to preserve it. 

In 2007, Wood would reinvent himself as a reliever, and had a few solid years as a setup man and a closer before all of that wear and tear would finally lead to today, in which Wood would strike out White Sox outfielder Dayan Viciedo, and would then be removed as he was congratulated by his team mates and would be met by his son as he reached the dugout.  Wood, eerily similar to Ryan’s final bow, would emerge from the dugout, doff his hat to the fans, before riding off into the sunset.

A fine ending, and one that any player would love to go out.  Not many players are able to choose how they leave the game.  For most, it's the game that pushes them out, and leaves us with a memory that is neither pleasant, or endearing.  So, in retrospect, that Wood received such an outpouring of love from his teammates and the home crowd, at the time of his choosing, is a blessing of itself.

I just can’t help but feel that things should have gone differently.

Monday, May 14, 2012

Art Supplies - Which I Use, And Which I Don't


Leadholders

This is my weapon of choice when I’m going to draw.  The leadholder is actually the precursor to the mechanical pencil, and comes in various gauges.  I’ve settled on the 2 mm gauge since it offers the best balance of fine and solid lines, as well as the wide availability of lead.  In terms of lead grades, it features the full spectrum of darkness, ranging from 8H to 9B, and it functions very much like a regular pencil.  You do have to sharpen it with a different type of pencil sharpener, with the varieties looking like a regular pencil sharpener or a small trash can that rotates, and many leadholders do have their rear caps with a integrated sharpener, although I don’t recommend using this except in the case of an emergency.  Some of the other perks of a leadholder are that it has a nice, solid heft to it, giving you some great pencil control, and that the pencils themselves last virtually forever.  I’ve only had one ever break, and I have several leadholders that are over 20 years old and still work brilliantly.  That said, there are downsides to leadholders.  For starters, the market has switched over to mechanical pencils, meaning that you’re going to see very little varieties in terms of new leadholders, although you can still find some out there if you look hard enough, as I did when I purchased my Alvin (in the image above).  Second, if you’re wishing to do something with color, then I regret to inform you that this is not the tool for you.  I haven’t seen any official leadholder colored leads in any variety except for blue, red, and violet, although I have seen a contraption at Hobby Lobby that has colored leads in roughly 2mm.  However, they are great to use, and are my weapon of choice, though again, they aren’t for everyone.

 Mechanical Pencils


Mechanical Pencils are the descendants of the leadholder, and are where the replaceable lead medium is progressing for the foreseeable future, though occasionally you’ll see a lead pencil advanced up to the 2mm gauge (God bless the Staedtler company!)  In any case, the neat thing about Mechanical pencils is that they’re readily available, as is the lead, and they’re absolutely fantastic if you want to make a fine line or do some details.  That is also their largest drawback, as drawing to draw any sort or larger, or thicker line, is going to take several strokes.  Even the largest lead pencil grade, .9 mm, is going to take a lot of time.  Plus, even the more expensive lead pencils are going to wear out and break.  There is colored lead available for it, usually in a small variety of colors, but even then, it won’t be enough for you to try and do much with.  Another downside is the fact that the lead spectrum isn’t wide for Mechanical Pencils either, usually ranging from 2B, B, HB, and 2H respectively.  

 Traditional Drawing Pencils

Traditional drawing pencils are what you usually see sold in stores, and they come in different grades, ranging from 8H to 9B, going from light to dark.   While you do find them sold individually in some art stores, in the mega art marts, they usually come in sets, sometimes in a nice little bag or festive tin.  I have various pencils from assorted sets in my drafting desk drawer, though my favorites are probably the Staedtler and Ebony Blacks (which are almost another creature entirely, but I digress).  These are handy in that you have such a wide range of lead to work with, allowing you to use the harder leads for preliminary outlines and such, before going darker for the detail.  The problem is, well, this can get a bit unwieldy because of the amount of pencil’s you’re going to be carrying.  Plus, despite the presence of pencil extenders, there is going to be a point where the pencil itself is going to be flat out useless or impractical to continue to use.


No image to be found on Google, so Fuck it.

Compressed Lead Pencils

Compressed lead pencils are a different animal from the pencils I detailed above.  In general, they look very different, as they are all one color (it’s lead color), and really should only be sharpened with a pencil sharpener, as trying to use a knife can be incredibly messy (which I know from personal experience.)  That said, if you’re using black, you get some of the darkest blacks that you’ll have available in pencil.  When you’re drawing with these, you get a very sketchy sort of drawing, with very little defined detail unless you’ve sharpened the pencil, and even then, you’re likely to see that pencil tip disappear in very short order.  All in all, these are nice to use.  I mess around with them on weekends.

Charcoal

Charcoal comes in a variety of forms, aside from the briquettes that you use to grill on weekends.  I’ve seen them in pencil form, long whisps, and blocks.  In regards to their artistic use, they allow you to get some really dark blacks and some interesting effects regarding light and shadow.  The only problem is that they can get really messy, so you have to watch with smearing.  These really aren’t for me, although I do have a carbon black pencil that I do use for accents and the like.  But some people are able to use them, and are phenomenal with them.

 Pastels

Pastels really are just pieces of colored chalk that you can use to add and blend color onto a piece of newsprint (which it works really nicely on), or which ever paper medium you choose.  There are several benefits to using pastels as an art medium.  The most obvious and major reason why people like to use them are that they are available in such a variety of colors, allowing you to create some really beautiful, eye popping pieces.  They also come in a version that is oil based, allowing you to take a brush with some thinner and allow you to blend it, like paint.  The downside of pastels that I have found in my personal experience is that doing detail in terms of a small scale is difficult, if not impossible, so you have to go big in terms of a piece, although it's possible that this could be different if you are using a pastel pencil.  The other major downside that I've personally found it is that you get that chalky sensation when you use it.  *shudder* But that said, people do like them and can create some beautiful works with them.  One of the versions of The Scream was done with pastels.



Art Sticks (or Stix)
This is another variation of the pastel approach, only this time, rather than like chalk, these are made from the same cores as Prismalcolors colored pencils.  I have purchased some of these and found them to be quite pleasing to use when I want to add some color to a sketch.  They have almost all of the benefits of pastels, but this time without that chalk use sensation.  They give you some rather lovely shades of color, in particular the blues.  The downside to these are, again, the detail aspect, which could be solved by using just a regular colored pencil, and the fact that, unlike pastels, which come in almost any color in the spectrum, there are only a select number of colors that art sticks come in.

Thursday, May 3, 2012

Movie Reviews By the Insane: Hambre Juegos! (Better Known As the Hunger Games)


Well, after a lot of procrastination and a busy work schedule, I was finally able to get enough coherent thought (or something close to it) to be able to put together my honest thoughts about the Hunger Games.  

The Hunger Games is set in a dystopian future where parts of what was the United States are reorganized into different districts in a nation called Panem.  Each district specializes in one specific task, be it mining, electronics, whathaveyou.  All the districts supply the Capitol.  Due to a insurrection years before the start of the movie, the districts are forced to send, every year, a boy and a girl from the ages of 12-18 (I think) are sent to the Capitol, where they are paraded in front of a live telecast with all the pomp of the Opening Ceremonies of the Olympic games, given an NFL/Navy SEAL type of two week training regimen, then sent into the arena after living said two weeks in the lap of luxury, where they are forced to fight to the death until one survives.  Fun times!

My three sentence review:  I liked it!

My much more long winded thoughts?  See below.